“Frankie Rose has a lock on soft focus nostalgia. “Little Brown Haired Girls” wafts in on clouds of teenage love and the first feelings of joy that crept in from playing your parents 45’s on shag carpeted living rooms. It’s the kind of instant transportation that great songs are made of, and then, just like that it ends; leaving you wanting to go through it all over again. Frankie Rose has a reputation for minimal, Maureen Tucker-like beats and iconic presence in such buzz-stirring bands as Crystal Stilts, Dum Dum Girls and Vivian Girls–groups that spearheaded a thriving scene that mixes the sounds of lo-fi garage and big, reverb-drenched, Phil Spector-produced ’60s girl groups with the noise aesthetic of The Jesus and Mary Chain, a touch of Velvet Underground and a strong DIY ethic.
On her new group’s self-titled Slumberland Records debut, Frankie Rose and the Outs have their heads in the clouds a bit more than Rose’s previous projects. The ghostly golden-oldie grooves of songs like “Girlfriend Island,” “Candy” and the pedal-pounding “That’s What People Told Me,” sound like the Cocteau Twins and Shangri-Las tracking a split LP with the help of a time machine and a freshly-acquitted Phil Spector.
The singer / guitarist / drummer–backed by bassist Caroline Yes, guitarist Margot Bianca, and drummer Kate Ryan– explores her dream-pop side on the album’s darker numbers, from the oscillating organs, spooky sleigh bells and melancholic melodies of “Hollow Life” and “Lullabye for Roads and Miles” to the disembodied balladry of “Save Me” and “Memo.” It’s all in the name of making “beautiful, serious music” that reaches well beyond simple Wall of Sound nods, though. That’s because Rose is more concerned with maintaining a specific mood than rehashing the hooks to which your parents lost their virginity” (insound.com)